Popular film is an important and effective ideological apparatus and has the potential not only to reinforce subjectivity but also to expose the workings of ideology. Within a psychoanalytic framework, this paper examines the recent historical/fantasy film 300 to assess the demands of ideology on the subject, the political consequences of the form of subjectivity that is affirmed, and the potential of this film to rationalize attitudes that provide justification for present conflict such as the War on Terror. Through this analysis, the article explores the reproduction of subjectivity and, significantly, how it can be challenged.